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A Kipling Passion Deborah Simpkin King Artistic Director and Founder BUT WHO SHALL RETURN US OUR CHILDREN? -A Kipling Passion- 2017-2018 SEASON - WHEN THE WAR IS OVER Saturday, November 11, 7:00pm St. John’s Lutheran Church, 81 Christopher St., NYC Sunday, November 12, 5:00pm Church of the Immaculate Conception 30 N. Fullerton Ave., Montclair, NJ - 1 - We thank the following for their generous commitments to our 2017-2018 Season Diamond Sponsors ($25,000+) Sponsors ($250+) Donors (up to $100) Marjorie Bunnell Charitable Trust Maria A. Basile Costco Warehouse Corporation Frank Borroto Maureen deBlasio Platinum Sponsors ($15,000+) Suzanne Block Glatt Amy Elise deJong Alexander Wentworth Pete Klosterman Jeff Flaster Seraphim ($7,500+) Sherry & Robert Kosinski Frank & Karen Hunter New Jersey State Council on the Arts Kevin & Sally Malanga Mary Lawler Richard Seeger Frances & Anthony Marsh Joseph Martin Roger & Mary Lou West Joyce Nestle Tom Myers Scott & Angel Pollack Nella Phillips Ember Angels ($5,000+) Amanda Regan Carol Quatrone Deborah Simpkin King Peggy Simpkin Betsy Sargent & Garry Watson ExxonMobil John T. Smith Kim Seltzer Gordon King Ilya Speranza & Andy Squire Elaine Terrell Cherubim ($2,500) Jose & Rowena Traverso Tully Cheng Svetlana Tzenova & Bojidar Tzenov In Memoriam—Bill Simpkin Prudential Financial Barbara G. Weiland Caroline L. Sargent Trinity and St. Philip’s Cathedral Patrons ($100+) Joel Biggers Guardian Angels ($1,000+) Anonymous Nicholas Cerrato AIG Matching Grants Program Ismael Aponte Christopher Greene Mark A. Aro The Bartol Charitable Foundation Laura Greenwald Gordon King Susan Baer & Warren Usdin Michele Butchko Tom Myers Columbia University— Wladimir & Anne Giszpenc Nella Phillips Alice M. Ditson Fund for Music Give With Liberty Arlene Pollack Andrew Jones Dorie Jefferson Caroline L. Sargent Alyson B. Navarro Sara & Vincent Livolsi Elaine Terrell Leslie M. Penny Angels ($500+) Elizabeth Rake Charles & Erica Appel Amanda Regan William & Christiana Carpenter Blane Shaw Nicholas Cerrato Donald & Karen Siegel Chris & Pamela Kyle Greene James Splond Laura Greenwald & David Strom Joseph Martin-Stowe Richard McAdams André Weker Morgan Stanley Peggy Yates Alison & Chris Self Amy Miles Ziebarth - 2 - A message from Artistic Director and Founder, Dr. Deborah Simpkin King, PhD Dear Music Lover, As we do every year, Ember singers have chosen a subject of pertinence on which to focus, and about which to sing throughout the year. It is our belief that the ability of the arts to reach beyond the mind, touching our very hearts and souls, provides us with a marvelous vehicle through which to heighten awareness of significant topics and, hopefully, bring them into expansive consideration. The approach of the centennial anniversary of the World War I Armistice provides a particularly poignant opportunity in which to explore the many implications of military conflict. Veterans and their loved ones are, of course, central in our heart, minds and voices, and veterans will be afforded recognition in every concert. Today, in the inaugural concert of the season we call When the War is Over, we look at the impact of wartime loss to a single family (that of Rudyard Kipling) – yet, by extension to all active military families. In March we will share music and poetry of all nations involved in the War [that was] to [have] end[ed] all Wars, underscoring the reality that blood spilled is a universal loss. And in May, we look at the disenfranchised (Black and Native American) soldier in WWI. Preparation of this marvelous oratorio has challenged the musicians who are Ember not only musically and vocally, but emotionally, as well. It has taken us into the heart of one family’s heartrending journey. Our donning of lapel poppies throughout the season, and our gifting of them to veterans in our audiences, is one small expression of solidarity with those who give so very much. You have our admiration and gratitude. The ability of the human spirit to remember, to learn, to heal, to reconcile . it is all of that and more about which we sing today through John Meuhleisen’s marvelous Kipling Passion: But who shall return us our children? Join us on the journey; gather with us following the concert. In service of meaningful Art, P.S. – If you’ve not yet tapped into our brand new EmberChat podcast series, we encourage you to seek that out for some fascinating ongoing conversation surrounding issues of military engagement. Lots there for all of us to consider. You will find it at SoundCloud.com/emberchat. - 3 - An Introduction and Overview But Who Shall Return Us Our Children? — A Kipling Passion (2017) John Muehleisen (born 1955) “Incidentally, Armageddon begins.” Thus wrote Rudyard Kipling when Britain entered the First World War in August 1914. It is impossible to understate the effect that the War had on that nation. More than three-quarters of a million British died, largely in the trenches of Belgium and France. This accounted for fully two percent of the population of Great Britain. Nearly three times as many were wounded, many severely, some from amputations or shellshock—what we now call post-traumatic stress disorder. So many promising young men were slaughtered, and so many of the old regime were now dying or disillusioned. The course of British music, literature, and culture changed dramatically. Kipling demonstrates this shift aptly: he was very much of the old guard, and the death of his son at the Battle of Loos in September 1915 destroyed his world. The tale of Kipling and his family’s wartime woes inspired Seattle-based composer John Muehleisen while researching his Pietà, premiered in March 2012 by Choral Arts Northwest, conducted by Robert Bode. Pietà included an array of texts on the subject of mothers mourning their children; among the sources were writings of Kipling and his son, John. Yet after that premiere, Muehleisen and Bode knew that they were not done with Kipling yet. As early as January 2013, the composer began collecting source material for a much larger work dealing with the Kipling family and their personal tragedy. Bode and Choral Arts Northwest—along with co-commissioners Spire Chamber Ensemble and the Conservatory of Music and Dance of the University of Missouri – Kansas City—commissioned the result: But Who Shall Return Us Our Children?. By subtitling his oratorio “A Kipling Passion”, Muehleisen invites comparisons to Bach, whose eighteenth-century Passion music—recounting the final days and death of Jesus—remains the gold standard for large-scale choral writing. Muehleisen implicitly likens the suffering of fallen soldiers to that of Christ, a notion that Kipling himself had embraced. As with the Bach Passions, the principal soloists take on roles of specific characters: the father, Rudyard, bass-baritone; mother, Carrie, soprano; and son, John, tenor. Some choral singers emerge with smaller roles such as soldiers and nurses. The full choir often takes the role of Bach’s Evangelist, or of a Greek chorus, introducing the action with textual attributions or otherwise moving the story forward. There are also moments of turba chorus, when the choir interjects briefly in the role of a crowd. In Bach, the chorus may become an angry mob; in Muehleisen, a disillusioned English populace. Most commonly, the chorus functions as an everyman: observing, commenting, and deeply feeling. The instrumentation also suggests Bach, though modernized. The small orchestra consists of two woodwind players (one on flute, clarinet, and saxophone; the other on oboe and English horn), two brass players (trumpet and trombone), two percussionists, and a standard string quartet plus double bass. The percussion acts like a Baroque continuo, supporting the voices in narrative moments. Muehleisen largely associates the strings with Carrie, the military band of winds and percussion with Rudyard, and the full ensemble with John, as a symbolic merging of his parents. In John Kipling’s aria that begins Part 3, Muehleisen handles the instruments in a singularly Bach-like manner, scoring for solo voice, two solo winds, and the percussion continuo. Similarly, Carrie’s aria “Son”, her farewell to John as he heads off to war, is scored essentially for solo oboe and strings, a chaconne in the form of a modified da capo form. Even the oratorio’s macro organization nods to Bach: fifty-one self-contained movements grouped into seven main units. Those fifty-one sections use texts from many different sources, most of which are contemporary to the action of the story. Of course the poetry of Kipling is given center stage, including three of his most famous works: If—, his kindly advice to a young man entering adulthood, written two years before John’s birth; Recessional, written for Queen Victoria’s - 4 - An Introduction and Overview - continued Diamond Jubilee; and selections from Epitaphs of the War. Muehleisen presents Kipling’s writings in a roughly chronological order; we hear their evolution from simplistic optimism to vehement propaganda to bitter objectivity. Thirteen other English poets of the era appear, including some who served as soldiers (Wilfred Owen, Siegfried Sassoon, Robert Nichols) or as nurses (Vera Brittain, Eva Dobell), plus members of the older generation (Thomas Hardy, Laurence Binyon). Less literary sources include diaries and letters written by Carrie, Rudyard, and John. There are news reports, a telegram, soldiers’ songs, a music-hall song, and even a song from the U.S. Civil War. The text of the lullaby that accompanies John’s birth was written by Tyler Griffin, a friend of the composer. In the final section, Muehleisen adds historical breadth with texts from the Bible, William Blake, Christina Rossetti, and Carl Sandburg. Muehleisen’s music benefits from several sources as well. At different moments he consciously imitates Anglican chant, Baroque recitative, Elgarian grand melody, and English folksong. He adapts Bach chorale harmonizations, largely from the Passions, and assigns them to new words, such as a poem by Wilfred Owen.
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